As the mural has been severely damaged and retouched in the tratteggio technique, the painting process and modelling are almost impossible to distinguish. The halo of the Saint figure on the left side was definitely incised, though with a very thin, shallow, and barely noticeable line. The outline of the head and the left shoulder under the halo also appear to have been incised. The underdrawing cannot be determined with certainty on any part of the mural. The remains of a dark red line can be observed in the lower part of the saint’s face, but this could also be the final contour. The figures are elongated and thin as, for example, the donor’s figure on the rightand the heads are round. No modelling has been preserved anywhere. The cross-sections revealed a grey underpainting in the style of the northern European tradition (veneda) under the green colour (fig. 4). Veneda can be also suggested under the potential blue pigment, which has probably fallen off the sample (fig. 5). Interestingly, the grey underpainting was applied under the green earth without using any malachite, which is rather peculiar. The grey colour is a mixture of white and black, i.e. white lime and carbon black.